Sound analysis of the bass clarinet
‘Minimal’ poses the question of musical material and composition process with this. Composing for an instrument meant: Implement the composer’s ideas ‘instrument-specific’. For example, fingering charts, practical play options, own sound concepts, thus secondary characteristics of an instrument as information have been used. However, this way of working means the rape of an instrument in favour of the composer’s personal sound ideas, as he enter externally the sound world of the instrument, so that the acoustic conditions, e.g. the bass clarinet, are not taken into account.
In ‘Minimal’ I tried to rely solely on the information that the sound of the bass clarinet has, e.g. overtone rows, amplitude ratios and changes, beat amplitudes, etc.